P R 

Q.3 






AAV6 05 






'■'■"■ -:^ 



Mm!&& 



m 



■': :. 






MmmMM 



••■-.•■■•.■■'•:• 
MR 






BHsH 




LIBRARY OF CONGRESS. 



Shelf jtCuC 

UNITED STATES OF AMERICA. 



"v 



CAMEOS FROM RUSKIN 



Cameos from Ruskin 



SELECTED AND ARRANGED 



BY 

MARY E. CARDWILL 



( - 

NEW YORK u \~Q2^fc ' 

CHARLES E. MERRILL & CO. 

52 and 54 Lafayette Place 



V 









C3 



Copyright, 1892, by 
Charles E. Merrill & Co. 



Press of J. J. Little & Co. 
Astor Place, New York 



In these books of mine, their distinctive character 

as essays on art, is their bringing everything to a root 

in human passion or human hope. 

— Modern Painters. 



PREFACE. 

The preparation of this book was begun 
with the purpose of making each selection 
a representation of Mr. Ruskin's two-fold 
work : as the greatest of art critics and as a 
master of ethics. This purpose has not been 
strictly adhered to, but the drift of the book, 
as a whole, and of most of the selections, 
will be found to bear directly on the funda- 
mental principle of all Mr. Ruskin's criticism 
— that art is inseparably connected with char- 
acter and conduct, or morality, and that all 
great art rests upon a basis of what is intrin- 
sically good. 

The book will have accomplished its mis- 
sion if it leads any of its readers, especially 
young readers who are seriously interested 
in art, to long for and seek all of the art- 
wisdom Mr. Ruskin offers them, in each and 
all of his wonderful books. 

For permission to use the selections, the 



8 PREFACE. 

compiler is indebted to the courtesy of the 
publishers, whose beautiful authorized edi- 
tion, the Brantwood, has given to Mr. Rus- 
kin's volumes an almost ideally appropriate 
dress. 

M. E. C. 



CAMEOS FROM RUSKIN 

GREATNESS IN ART 

. . . Whatever may be the means, or 
whatever the more immediate end of any- 
kind of art, all of it that is good agrees in 
this, that it is the expression of one soul 
talking to another, and is precious according 

to the soul that utters it. 

Stones of Venice 



All art is great, and good, and true, only so 
far as it is distinctively the work of manhood 
in its entire and highest sense . . . not the 
work of limbs and fingers, but of the soul. 

Stones of Venice 



. . . The value of every work of art is ex- 
actly in the ratio of the quantity of human- 
ity which has been put into it, and legibly 
expressed upon it forever. 



Stones of Venice 



IO CAMEOS FROM RUSKIN 

Art is great always by meeting its condi- 
tions in the simplest way. 

Aratra Pentelici 



This is the sign of the greatest art — to 
part voluntarily with its greatness : — to make 
itself poor and unnoticed ; but so to exalt 
and set forth its theme that you may be fain 
to see the theme instead of it. 

Aratra Pentelici 



So far from art's being immoral, little else 
except art is moral. Aratra Pentelici 



All things that are worth doing in art, are 
interesting and attractive when they are 
done. . . . All good art has the capacity of 
pleasing. 

Lectures on Architecture and Painting 



Greatness in art is . . . not a teachable or 
gainable thing, but the expression of the 
mind of a God-made great man. 

Modern Painters 



CAMEOS FROM RUSKIN II 

. . . The difference between great and 
mean art lies . . . wholly in the nobleness 
of the end to which the effort of the painter 
is addressed. Modern Painters 



Greatness of style consists . . . first in the 
habitual choice of subjects of thought which 
involve wide interests and profound passions. 

Modern Painters 



Choice of subject is, of course, only availa- 
ble as a criterion of the rank of a painter, 
when it comes from the heart. 



Modern Painters 



All great art is delicate art, and all coarse 
art is bad art. Modern Painters 



Art, properly so called, is no recreation ; it 
cannot be learned at spare moments, nor 
pursued when we have nothing better to do. 
. . . To advance it men's lives must be 
given, and to receive it their hearts. 

Modern Painters 



12 CAMEOS FROM RUSKIN 

. . . Nothing in great work is ever either 

fortuitous or contentious. 

Modern Painters 



Every great work stands alone. 

Modern Painters 



The vastest thing [is] noble chiefly for 
what it includes; and the meanest for what 
it accomplishes. Modern Painters 



As all lovely art is rooted in virtue, so it 
bears the fruit of virtue, and is didactic in 
its own nature ... it is didactic chiefly by 
being beautiful with haunting thought, no 
less than with form, and full of myths that 
can be read only with the heart. 

Queen of the Air 

Every work of right art has a tendency to 
reproduce the ethical state which first de- 
veloped it. Queen of the Air 

All great art represents something that it 
sees and believes in ; nothing unseen or un- 
credited. Seven Lamps of Architecture 



CAMEOS FROM RUSKIN 1 3 

. . . An art, low in itself, may be made 
noble by the human strength and being 
which a great man will pour into it ; and an 
art, great in itself, be made mean by the 
meanness of the mind occupied in it. 

Stones of Venice 



.... The entire vitality of art depends 
upon its having for its object to state a true 
thing or adorn a serviceable one. 



Val d'Arno 



Without mingling of heart-passion with 
hand-power, no art is possible. The highest 
art unites both in their intensest degrees: 
the action of the hand at its finest, with that 
of the heart at its fullest. Two Paths 



. . . With absolute precision from highest 
to lowest, the fineness of the possible art is 
an index of the moral purity and majesty of 
the emotion it expresses. 



Lectures on Art 



Painting, or art generally, as such, with all 
its technicalities, difficulties, and particular 
ends, is nothing but a noble and expressive 



14 CAMEOS FROM RUSKIN 

language, invaluable as a vehicle of thought, 
but by itself nothing. Modern Painters 



The picture which has the nobler and 
more numerous ideas, however awkwardly 
expressed, is a greater and better picture than 
that which has less noble and less numerous 
ideas, however beautifully expressed. No 
weight, nor mass, nor beauty of execution 
can outweigh one grain or fragment of 
thought. Modern Painters 



Mean something and say something . . . 
and trust to time and your honest labor to 
invest your work gradually, in such measure 
and kind as your genius can reach, with the 
tenderness that comes of love, and the mys- 
tery that comes of power. 

Modern Painters 



Fragrant tissues of flowers, golden circlets 

of clouds, are only fair when they meet the 

fondness of human thoughts, and glorify 

human visions of Heaven. 

Modern Painters 



CAMEOS FROM RUSKIN I 5 

. . . There is no such thing as " fine " or 
" high " art. All art is a low and common 
thing, and what we indeed respect is not art 
at all, but instinct or inspiration expressed 
by the help of art. Stones of Venice 



EXECUTION 

Nothing is so bad a symptom in the work 
of young artists, as too much dexterity of 
handling ; for it is a sign that they are satis- 
fied with their work, and have tried to do 
nothing more than they were able to do. 
Their work should be full of failures; for 

these are signs of efforts. 

Modern Painters 



Wherever . . . difficulty has been over- 
come there is excellence. 

Modern Painters 



No mode of execution ought to be taught 
to a young artist as better than another; he 
ought to understand the truth of what he 
has to do, felicitous execution will follow as 
a matter of course. Modern Painters 



CAMEOS FROM RUSKIN 17 

Power is never wasted. Whatever power 
has been employed, produces excellence in 
proportion to its own dignity and exertion. 

Modern Painters 

The artist has done nothing till he has 
concealed himself— the art is imperfect which 
is visible. . . . The harp of the minstrel is 
untruly touched, if his own glory is all that 
It records. Modern Painters 



Exactly in proportion as an artist is cer- 
tain of his end, will he be swift and simple in 
his means; and, as he is accurate and deep 
in his knowledge, will he be refined and pre- 
cise in his touch. Modern Painters 



"Finishing" means in art simply "telling 
more truth;" and that whatever we have 
in any sort begun wisely, it is good to finish 
thoroughly. Modern Painters 



. . . When a thing is once well done in 
this world, it can never be done over again. 



Modern Painters 



I 8 CAMEOS FROM RUSKIN 

Every natural mode is instinctively em- 
ployed, and instinctively understood, wher- 
ever there is true feeling ; and this instinct is 
above law. Stones of Venice 



. . . The strength of materials, or of men, 
or of minds, is always most available when 
it is applied as closely as possible to a single 
point. Stones of Venice 



. . . Never . . . demand exact finish, when 
it does not lead to a noble end. 

Stones of Venice 



. . . Demand no refinement of execution 
where there is no thought, for that is slave's 
work unredeemed. Stones of Venice 



Always look for invention first, and after 
that, for such execution as will help the in- 
vention, and as the inventor is capable of 
without painful effort, and no more. 

Stones of Venice 



ig 

. . . Never imagine there is any reason to 

be proud of anything that may be accom- 
plished by patience and sand-] 

I Venice 



Whoever can design small things perfectly 
can design what he choo 

Lecture. 



If we always see rightly and mean rightly, 
we shall get on, though the hand may stag- 
ger a little ; but if we mean wrongly, or mean 
nothing, it does not matter how firm the 
hand 



True boldness and power are only to be 
gained with care. of Draw 



We must take care to be right, at what- 
ever cost of pains ; and then gradually we 
shall find we can be right with freedom. 

Elements of Drawing 



20 CAMEOS FROM RUSKIN 

Nothing is more strange in art than the 
way that chance and materials seem to 
favour you, when once you have thoroughly 
conquered them. Elements of Drawing 



WORK WELL DONE, LIFE WON 

For every piece of wise work done, so 
much life is granted ; for every piece of fool- 
ish work, nothing; for every piece of wicked 
work, so much death is allotted. 

MUNERA PULVERIS 

Without the resolution in your hearts to 
do good work, so long as your right hands 
have motion in them, and to do it whether 
the issue be that you die or live, no life 
worthy the name will ever be possible to 
you; while, in once forming the resolution 
that your work is to be well done, life is 
really won, here and forever. 

Time and Tide 



Labor without joy is base. Labor without 
sorrow is base. Sorrow without labor is 
base. Joy without labor is base. 

Time and Tide 



22 CAMEOS FROM RUSKIN 

However mean and inconsiderate the act, 
there is something in the well-doing of it, 
which has fellowship with the noblest forms 
of manly virtue. 

Seven Lamps of Architecture 



INDIVIDUAL FIRE 

This is the glory of Gothic Architecture, 
that every jot and tittle, every point and 
niche of it, affords room, fuel, and focus for 
individual fire. Stones of Venice 



... In our dealings with the souls of 
other men, we are to take care how we check, 
by severe requirement of narrow caution, 
efforts which might otherwise lead to a noble 
issue; and still more to withhold our admi- 
ration from great excellences, because they 
are mingled with rough faults. 

Stones of Venice 



The virtue of originality which men strive 
after, is not newness as they vainly think, 
. . . it is only genuineness; it all depends 
on this single glorious faculty of getting to 
the spring of things and working out from 



24 CAMEOS FROM RUSKIN 

that ; it is the coolness and clearness and 
deliciousness of the water fresh from the 
fountain head, opposed to the thick, hot, 
unrefreshing drainage from other men's 
meadows. Modern Painters 



So long as men work as men, putting their 
hearts into what they do, and doing their 
best, it matters not how bad workmen they 
may be, there will be that in the handling 
which is above all price. 

Seven Lamps of Architecture 



GOOD WORK NOT A COPY 

. . . All that is highest in art, all that is 
creative and imaginative, is formed and cre- 
ated by every great master for himself, and 
cannot be repeated or imitated by others. 

Modern Painters 



. . . Let us understand this plain truth, 
common to all work of man, that, if it be 
good work, it is not a copy, nor anything 
done by rule, but a freshly and divinely 
imagined thing. Stones of Venice 

. . . The difference between the spirit of 
touch of the man who is inventing, and of 
the man who is obeying directions, is often 
all the difference between a great and a com- 
mon work of art. Stones of Venice 



. . . The second most essential element of 
the Gothic spirit, [is] that ... it not only 



26 CAMEOS FROM RUSKIN 

dared but delighted in, the infringement of 
servile principle. Stones of Venice 



All imitation has its origin in vanity. 

Poetry of Architecture 



. . . The essence of composition lies pre- 
cisely in the fact of its being unteachable, in 
its being the operation of an individual mind 
of range and power exalted above others. 

Elements of Drawing 



The man who without copying, and by his 

own true and original power, can arrange a 

cluster of rose leaves nobly, can design any 

thing. 

Lectures on Architecture and Painting 



TRUTH 

. . . No picture can be good which deceives 
by its imitation, for the very reason that noth- 
ing can be beautiful which is not true. 

Modern Painters 



There can be no such thing as an orna- 
mental falsehood. Modern Painters 



. . Imagination . . . the true foundation 
of all art . . . exercises eternal authority 
over men's minds ... the base of whose 
authority and being is its perpetual thirst 
of truth and purpose to be true. 

Modern Painters 



No saying will teach the truth. Nothing 
but doing. Modern Painters 



. . No artist can be graceful, imagina- 



28 CAMEOS FROM RUSKIN 

tive, or original, unless he be truthful . . . 
the pursuit of beauty, instead of leading us 
away from truth, increases the desire for it 
and the necessity of it ten-fold. 

Modern Painters 



. . . The right wit of drawing is like the 
right wit of conversation, not hyperbole, not 
violence, not frivolity, only well-expressed, 
laconic truth. Modern Painters 



... A false thought is worse than the 
want of thought, and therefore is not art. 

Modern Painters 



. . . Writers and painters of the Classic 
school set down nothing but what is known 
to be true, and set it down in the perfectest 
manner possible in their way, and are thence- 
forward authorities from whom there is no 
appeal. Val d'Arno 

All the fair devices that ever were fancied 
are not worth a lie. 

Seven Lamps of Architecture 



cam uskik ; 

. . . The truth of nature is a part of the 
truth of God ; to him who does not search it 
out, darkness, as it 1*5 to him who does 
finity. 



GREAT ART ACCEPTS NATURE AS 
SHE IS 

. . . Though the absence of the love of 
nature is not an assured condemnation, its 
presence is an invariable sign of goodness of 
heart and justness of moral perception, though 
by no means of moral practice. 

Modern Painters 



. . . For one who is blinded to the works 
of God by profound abstraction or lofty pur- 
pose, tens of thousands have their eyes sealed 
by vulgar selfishness, and their intelligence 

crushed by impious care. 

Modern Painters 



It is one of Nature's most beautiful adap- 
tations that she is never out of proportion 
with herself. Poetry of Architecture 



Great art accepts nature as she is, but 



CAMEOS FROM RUSKLN 31 

directs the eyes and thoughts to what is 
most perfect in her. Mora 

Every alteration of the features of na: 
has its origin either in powerless indolence 
or blind audacity, in the folly which for^ 
or the insolence which desecrates, works 
which it is the pride of angels to know, and 
r privilege to love. Modern I 



He who walks humbly with nature will 
seldom be in danger of losing sight of art. 

Modern Paint- 



Natui mmeasurably superior to all 

that the human mind can conceive, that every 
departure from her is a fall beneath . 

Modern Paint 



Nature will show you nothing if you 
yourself up for her master. But forget your- 
self and try to obey her, and you will find 
obedience easier and happier than you think. 

El?' 



High art . . . 0: cither in altering 



32 CAMEOS FROM RUSKIN 

nor improving nature ; but in seeking 
throughout nature for " whatsoever things 
are lovely, and whatsoever things are pure." 

Modern Painters 



The more a painter accepts nature as he 
finds it, the more unexpected beauty he dis- 
covers in what he at first despised. 

Modern Painters 



BEAUTY 

. . . Every truth, of nature is more or less 
beautiful. Modern Painters 



Schools of art become higher in exact 
proportion to the degree in which they ap- 
prehend and love the beautiful. 

Modern Painters 



... Of the intellectual and moral virtues, 
the moral are those which are attended with 
most beauty, so that the gentle eye of the 
gazelle is fairer to look upon than the more 
keen glance of men, if it be unkind. 

Modern Painters 



Great art dwells on all that is beautiful ; 
false art omits or changes all that is ugly. 

Modern Painters 



. Those forms will be most beautiful 
3 



34 CAMEOS FROM RUSKIN 

( . . . leaving typical beauty out of the ques- 
tion) which exhibit most of power, and seem 
capable of most quick and joyous sensation. 

Modern Painters 



. . . Beauty has been appointed by the 
Deity to be one of the elements by which 
the human soul is continually sustained. 

Lectures on Architecture and Painting 



. . . There is no other definition of the 
beautiful, nor of any subject of delight to the 
aesthetic faculty, than that it is what one 
noble spirit has created, seen and felt by 
another of similar or equal nobility. 

Aratra Pentelici 



REPOSE 

There is . . . no test more unfailing of 
the greatness of artistical treatment than 
that of the appearance of repose. ... It is 
the sign alike of the supreme knowledge 
which is incapable of surprise, the supreme 
power which is incapable of labor, the su- 
preme volition which is incapable of change. 

Modern Painters 



. . . Respecting repose, ... no work of 
art can be great without it, and all art is 
great in proportion to the appearance of it. 
It is the most unfailing test of beauty, 
whether of matter or of motion, nothing can 
be ignoble that possesses it, nothing right 
that has it not, and in strict proportion to 
its appearance in the work is the majesty of 
mind to be inferred in the artificer. 

Modern Painters 



. . . The least appearance of violence or 
extravagance, of the want of moderation and 



36 CAMEOS FROM RUSKIN 

restraint, is . . . destructive of all beauty 
whatsoever in everything, color, form, motion, 
language, or thought, giving rise to that 
which in color we call glaring, in form in- 
elegant, in motion ungraceful, in language 
coarse, in thought undisciplined, in all un- 
chastened. Modern Painters 



. . . Orderly balance and arrangement are 
essential to the perfect operation of the more 
earnest and solemn qualities of the beautiful, 
as being heavenly in their nature, and con- 
trary to the violence and disorganization of 
sin, so that the seeking of them and submis- 
sion to them is always marked in minds that 
have been subjected to high moral discipline, 
constant in all great religious painters to the 
degree of being an offence and a scorn to 
men of less tuned and tranquil feeling. 

Modern Painters 



IMAGINATION 

. . . All that nature does is imaginative, 
that is, perfect as a whole, and made up of 
imperfect features. Modern Painters 



. . . The virtue of the imagination is its 
reaching by intuitions and intensity of gaze 
. . . a more essential truth than is seen at 
the surface of things. Modern Painters 



. . . The very essence of the imagination 
is . . . the seeing to the heart. 

Modern Painters 



Only perfectness of mind, unity, depth, 
decision, the highest qualities in fine, of the 
intellect, will form the imagination. 

Modern Painters 



As much truth as possible. . . . But truth 



38 CAMEOS FROM RUSKIN 

so presented, that it will need the help of 
the imagination to make it real. 



Modern Painters 



. . . Nothing is so great a proof of real im- 
agination and invention, as the appearance 
that nothing has been imagined or invented. 

Modern Painters 



Be assured of the great truth — that what 
is impossible in reality is ridiculous in fancy. 

Modern Painters 



The imagination is always right. ... So it 
is throughout art ... if anything be wrong 
it is not the imagination's fault, but some in- 
ferior faculty's, which would have its foolish 
say in the matter, and meddled with the 
imagination. Modern Painters 



VITAL VARIATION 

As natural form is varied, so must beauti- 
ful ornament be varied. You are not an 
artist by referring nature into deathful same- 
ness, but by animating your copy of her into 
vital variation. Val d'Arno 



Nothing can be natural which is monot- 
onous ; nothing true which tells only one 
story. Modern Painters 

... It is one of the eternal principles of 
nature, that she will not have one line nor 
color, nor one position nor atom of space 
without a change in it. Modern Painters 



. . . All repetition is degradation of . . . 
art ; it reduces head-work to hand-work ; and 
indicates something like persuasion on the 
part of the artist that nature is exhaustible, 
or art perfectible. Modern Painters 



40 CAMEOS FROM RUSKIN 

. . . Nature contrives never to repeat her- 
self, . . . the surface of water is not a mock- 
ery, but a new view of what is above it. 

Modern Painters 



Great art . . . does not say the same thing 
over and over again ... to repeat itself is 
no more a characteristic of genius in marble 
than it is of genius in print. 

Stones of Venice 



. . . No art can be noble which is incapa- 
ble of expression of thought, and no art is 
capable of expressing thought which does not 
change. 

Lectures on Architecture and Painting 



AS THE MADE THING IS GOOD OR 
BAD, SO IS THE MAKER OE IT 

You may read the characters of men, and 
of nations, in their art as in a mirror. . . . 
From the least to the greatest, as the made 
thing is good or bad, so is the maker of it. 

Queen of the Air 

Let the natural mind be elevated in char- 
acter, and it will naturally become pure in 
its conceptions ; let it be simple in its de- 
sires, and it will be beautiful in its ideas ; let 
it be modest in feeling, and it will not be 
insolent in stone. Stones of Venice 



. . . Art is valuable or otherwise, only 
as it expresses the personality, activity, and 
living perception of a good and great human 
soul. Stones of Venice 



. . . Every increase of noble enthusiasm in 
your living spirit will be measured by the 



42 CAMEOS FROM RUSKIN 

reflection of its light upon the works of your 
hands. Elements of Drawing 



Men treat their subjects nobly only when 
they themselves become noble. 

Study of Architecture 



Art, national or individual, is the result of 
a long course of previous life and training ; a 
necessary result, if that life has been loyal, 
and an impossible one, if it has been base. 
Study of Architecture 



A nation cannot be affected by any vice, 
or weakness, without expressing it, legibly, 
and forever, either in bad art, or by want of 
art. Crown of Wild Olives 

The faults of a work of art are the faults 
of its workman, and its virtues his virtues. 

Queen of the Air 



. . . Art is the work of the whole spirit of 
man ; and as that spirit is, so is the deed of it. 

Queen of the Air 



ART-GIFT 

. . . Art-gift and amiability of disposition 
are two different things. . . . But great art 
implies the union of both powers : it is the 
expression, by an art-gift, of a pure soul. 

Queen of the Air 



. . . The art-gift ... is only the result of 
the moral character of generations. 

Queen of the Air 



For the individual. . . . Let his art-gift 
be never so great, and cultivated to the 
height by the schools of a great race of 
men ; and it is still but a tapestry thrown 
over his own being and inner soul ; and the 
bearing of it will show, infallibly, whether it 
hangs on a man, or on a skeleton. 

Queen of the Air 

. . . The true artist has that inspiration in 
him which is above all law, or rather, which 



44 CAMEOS FROM RUSKIN 

is continually working out such magnificent 
and perfect obedience to supreme law, as 
can in no wise be rendered by line and rule. 

Stones of Venice 



Common talkers use the word " magic " of 
a great painter's power without knowing 
what they mean by it. They mean a great 
truth. That power is magical ; so magical, 
that, well understood, no enchanter's work 
could be more miraculous or more appalling. 

Modern Painters 



The test is absolute, inevitable. — Is your 
art first with you ? Then you are artists. 

Two Paths 



. . . The gifts which distinctively mark 
the artist — without which he must be feeble 
in life, forgotten in death . . . are those of 
sympathy and imagination. Two Paths 



A MAN OF REAL POWER 

. . . No difficulty or restraint ever hap- 
pened to a man of real power, but his power 
was the more manifested in contending with, 
or conquering it. Stones of Venice 



... If the man be a painter indeed, and 
have the gift of colors and lines, what is in 
him will come from his hand freely and faith- 
fully ; and the language itself is so difficult 
and so vast, that the mere possession of it 
argues the man is great, and that his works 
are worth reading. Stones of Venice 



No great man ever stops working till he 
has reached his point of failure . . . his mind 
is always in advance of his powers of execu- 
tion, and the latter will now and then give 
way in trying to follow. Stones of Venice 



46 CAMEOS FROM RUSKIN 

. . . The thoroughly great men are those 
who have done everything thoroughly, and 
who, in a word, have never despised any- 
thing, however small, of God's making. 

Modern Painters 



Capacity means breadth of glance, under- 
standing of the relations of things, and in- 
vention, and these are rare and precious. 

Modern Painters 



. . . The moment he (the artist) can make 
us think that he has done nothing, that 
nature has done all — that moment he becomes 
ennobled, he proves himself great. . . . He 
becomes great when he becomes invisible. 

Modern Painters 



Men of any high mental power must be 
serious, whether in ancient or modern days. 

Modern Painters 



. . . The first test of a truly great man is 
his humility. . . . All great men not only 
know their business, but usually know that 
they know it ; and are not only right in their 



CAMEOS FROM RUSKIN 47 

main opinions, but usually know that they 
are right in them ; only they do not think 
much of themselves on that account . . . and 
they see something divine in every other 
man. Modern Painters 



All . . . first-rate men are lonely men . . . 
the particular work they did was by them 
done forever in the best way. 

Modern Painters 



... A great man never so limits himself 
to one thing, as that we shall say, " That's 
all he can do." Modern Painters 



He [a painter] is great if ... he has laid 
open noble truths, or aroused noble emo- 
tions. Modern Painters 



The slightest manifestation of jealousy or 
self-complacency is enough to mark a second- 
rate character of intellect. 

Modern Painters 



In painting as in eloquence, the greater 
your strength, the quieter will be your man- 



48 CAMEOS FROM RUSKIN 

ner, and the fewer your words ; and in paint- 
ing as in all the arts and acts of life, the 
secret of a high success will be found not 
in a fretful and various excellence, but in a 
quiet singleness of a justly chosen aim. 

Modern Painters 



. . . All the greatest men live in their pur- 
pose and effort more than it is possible for 
them to live in reality. If you would praise 
them worthily, it is for what they have con- 
ceived and felt ; not merely for what they 
have done. The Eagle's Nest 



With all thoroughly great men, their 
strength is not seen at first, precisely because 
they unite, in due place and measure, every 
great quality. Two Paths 



EDUCATION 

Education . . . is the leading human souls 
to what is best, and making what is best out 
of them. 

True education . . . has respect first to 
the ends which are proposable to the man or 
attainable by him, and secondly to the ma- 
terial of which the man is made. 

Stones of Venice 

An artist need not be a learned man . . . 
but he ought, if possible, to be an educated 
man : that is, one who has so trained him- 
self, or been trained, as to turn to the best 
and most courteous account whatever facul- 
ties or knowledge he has. 

Stones of Venice 

We no more live to know than we live to 
eat. We live to contemplate, enjoy, act, 
adore . . . We are to ask therefore, first, is 
the knowledge we would have fit food for us, 

4 



5<D CAMEOS FROM RUSKTN 

good and simple, not artificial and decorated : 

and secondly, how much of it will enable us 

best for our work ; and will leave our hearts 

light, and our eyes clear? 

Stones of Venice 



False education is a delightful thing, and 
warms you, and makes you every day think 
more of yourself. And true education is a 
deadly cold thing, with a Gorgon's head on 
her shield, and makes you every day think 
worse of yourself. Time and Tide 



It has been the great error of modern in- 
telligence to mistake science for education. 
You do not educate a man by telling him 
what he knew not, but by making him what 
he was not. Munera Pulveris 



. . . Reading and writing are in no sense 
education, unless they contribute to this end 
of making us feel kindly towards all crea- 
tures . . . drawing, especially physiologic 
drawing, is vital education of a most precious 
kind. The Eagle's Nest 



CAMEOS FROM RUSKIN 51 

. . . The most perfect mental culture pos- 
sible to men is founded on their useful ener- 
gies, and their best arts and brightest happi- 
ness are consistent, and consistent only, with 
their virtue. Lectures on Art 



GENIUS 

. . . The whole difference between a man 
of genius and other men, ... is that the 
first remains a child, seeing with the large 
eyes of children, in perpetual wonder, not 
conscious of much knowledge, — conscious, 
rather, of infinite ignorance, and yet infinite 
power; a fountain of eternal admiration, de- 
light, and creative force within him meeting 
the ocean of visible and governable things 
around him. Stones of Venice 



All men are to be men of genius in their 
degree, runlets or rivers, it does not matter, 
so that the souls be clear and pure ; not dead 
walls encompassing dead heaps of things 
known and numbered, but running water in 
the sweet wildness of things unnumbered 
and unknown, conscious only of living banks 
on which they partly refresh and partly re- 
flect the flowers, and so pass on. 

Stones of Venice 



CAMEOS FROM RUSKIN 53 

. . . Wherever there is any true genius, 

there will be some peculiar lesson which 

even the humblest will teach us more sweetly 

and perfectly than those far above them in 

prouder attributes of mind. 

Modern Painters 



THE HIGH AND ENNOBLING ART 
OF ARCHITECTURE 

. . . The high and ennobling art of archi- 
tecture is, that of giving to buildings, whose 
parts are determined by necessity, such 
forms and colours as shall delight the mind, 
by preparing it for the operations to which 
it is to be subjected in the building. 

Poetry of Architecture 



The nobility of each building depends on 
its special fitness for its own purposes. 

Stones of Venice 



. . . The purest architectural abstractions 
. . . are the deep and laborious thoughts of 
the greatest men, put into such easy letters 
that they can be written by the simplest. 

Stones of Venice 



We take pleasure, or should take pleasure, 



CAMEOS FROM RUSKIN 55 

in architectural construction altogether as 
the manifestation of an admirable human in- 
telligence ... the intelligence and resolution 
of a man in overcoming physical difficulty 
. . . the choice and invention concerned in 
the production ... the love and thought of 
the workman more than his work. 

Stones of Venice 



... In their fitness, unity, and accuracy, 
lies the true proportion of every building, — 
proportion utterly endless in its infinities of 
change with unchanged beauty. 

Stones of Venice 



. . . We require from buildings, as from 
men, two kinds of goodness : first, the doing 
their practical duty well : then that they be 
graceful and pleasing in doing it. 

Stones of Venice 



. . . The great Christian truth of distinct 
services of the individual soul is typified in 
the Christian shaft. Stones of Venice 



All building . . . shows man either as 



56 CAMEOS FROM RUSKIN 

gathering or governing: and the secrets of 
his success are his knowing what to gather, 
and how to rule. 

Seven Lamps of Architecture 



All good architecture is the expression of 
national life and character ; and it is pro- 
duced by a prevalent and eager national 
taste, or desire for beauty. 

Crown of Wild Olives 



Masonry is always bad which appears to 
have arrested the attention of the architect 
more than absolute conditions of strength 
require. Stones of Venice 



Architecture consists distinctively in the 
adaptation of form to resist force. 

Val d'Arno 



NOBLE ORNAMENTATION . . . THE 
EXPRESSION OF MANS DELIGHT 
IN GOD'S WORK 

. . . All noble ornamentation is the ex- 
pression of man's delight in God's work. 

Stones of Venice 



Whatever has nothing to do, whatever 
could go without being missed, is not orna- 
ment ; it is deformity and encumbrance. 

Stones of Venice 



. . . All ornament is base which takes for 
its subject human work ... to carve our 
own work, and set it up for admiration, is 
a miserable self-complacency, a contentment 
in our own wretched doings, when we might 
have been looking at God's doings. 

Stones of Venice 



The noblest lessons may be taught in orna- 
mentation, most solemn truths compressed 



58 CAMEOS FROM RUSKIN 

into it. The Book of Genesis, in all the ful- 
ness of its incidents, in all the depth of its 
meaning, is bound within the leaf borders of 
the gates of Ghiberti. Stones of Venice 



The noblest thing in a building, and its 
highest virtue, is that it be nobly sculptured 
and painted. 

Lectures on Architecture and Painting 



. . . The glory of all ornamentation con- 
sists in the adoption or imitation of the 
beauties of natural objects, and ... no 
work can be of high value which is not full 
of this beauty. 

Lectures on Architecture and Painting 



Wherever you can rest, there decorate ; 
where rest is forbidden, so is beauty. 

Seven Lamps of Architecture 



SCULPTURE— IMAGE-MAKING ART 

. . . Sculpture is to be a true representa- 
tion of true external form. Much more is it 
to be a representation of true internal emo- 
tion. Aratra Pentelici 



. . . What is, indeed, most lovely, the true 
image maker will most love ; and what is 
most hateful, he will most hate . . . That is 
his art wisdom ; the knowledge of good and 
evil, and the love of good. 

Aratra Pentelici 



. IS 



The proper subject of sculpture 
the spiritual power seen in the form of any 
living thing, and so represented as to give 
evidence that the sculptor has loved the 
good of it and hated the evil. 

Aratra Pentelici 



A great sculptor carves his scarabaeus 



60 CAMEOS FROM RUSKIN 

grandly, as he does his king, while a mean 
sculptor makes vermin of both. 

Study of Architecture 



. . . The highest thing that art can do is 
to set before you the true image of the pres- 
ence of a noble human being. It has never 
done more than this, and it ought not to- do 
less. Lectures on Art 



PERCEPTION 

. . . The greatest thing a human soul ever 
does in this world is to see something . . . 
To see clearly is poetry, prophecy, and re- 
ligion — all in one. Modern Painters 

All great men see what they paint before 
they paint it,— see it in a perfectly passive 
manner — cannot help seeing it if they would. 

Modern Painters 



In all things throughout the world, the 
men who look for the crooked will see 
the crooked, and the men who look for the 
straight will see the straight. 

Modern Painters 



. . . Things may always be seen truly by 
candid people, though never completely. No 
human capacity ever yet saw the whole of a 



62 CAMEOS FROM RUSKIN 

thing: but we may see more and more of it 
the longer we look. Modern Painters 



. . . The keenness of our vision is to be 
tested by the expansiveness of our love. 

Modern Painters 



Explanations are wasted time. A man 
who can see, understands a touch; a man 
who cannot, misunderstands an oration. 

Modern Painters 



The best scholar is he whose eye is so 
keen as to see at once how a thing looks, and 
who need not therefore, trouble himself with 
any reasons why it looks so. 

Elements of Drawing 



The whole function of the artist in the 
world is to be a seeing and feeling creature. 
. . . The work of his life is two-fold only : 
to see, to feel. Stones of Venice 



PICTURES 

. . . The greatest picture is that which 
conveys to the mind of the spectator the 
greatest number of greatest ideas. 

Modern Painters 



The picture which is looked to for an in- 
terpretation of nature is invaluable, but the 
picture which is taken for a substitute for 
nature, had better be burned. 

Modern Painters 



All really great pictures . . . exhibit the 
general habits of nature, manifested in some 
peculiar, rare, and beautiful way. 

Modern Painters 



. . . You may always accurately ascertain 
what are the noble characters in a piece of 
painting, by merely considering what are the 



64 CAMEOS FROM RUSKIN 

noble characters of man in his association 
with his fellows. Elements of Drawing 



There is no moral vice, no moral virtue, 
which has not its precise prototype in the art 
of painting ; so that you may at your will 
illustrate the moral habit by the art, or the 
art by the moral habit. 

Elements of Drawing 



. . . The very best painting is unquestion- 
ably so like the mirrored truth, that all the 
world will admit its excellence. Entirely 
first-rate work is so quiet and natural that 
there can be no dispute over it. 

Lectures on Art 



... If you enable yourselves to distin- 
guish, by the truth of your own lives, what 
is true in those of other men, you will grad- 
ually perceive that all good has its origin in 
good, never in evil . . . the fact of either 
literature or painting being truly fine of 
their kind, whatever their mistaken aim, or 
partial error, is a proof of their noble origin. 

Lectures on Art 



CAMEOS FROM RUSKIN 65 

. , . No branch of art economy is more 
important than that of making the intellect 
at your disposal pure as well as powerful ; so 
that it may always gather for you the sweet- 
est and fairest things . . . The picture which 
most truly deserves the name of an art- 
treasure is that which has been painted by a 
good man. Political Economy of Art 



All noblest pictures have this character: 
They are true or inspired ideals, seen in a 
moment to be ideal. Modern Painters 



COLOUR— THE SPIRITUAL POWER 
OF ART 

[Colour] is . . . the spiritual power of art ; 
and its true brightness is the essential char- 
acteristic of all healthy schools. 

Queen of the Air 

The perception of colour is a gift just as 
definitely granted to one person, and denied 
to another, as an ear for music. 

Stones of Venice 



... Of all God's gifts to the sight of 
man, colour is the holiest, the most divine, 
the most solemn. Stones of Venice 



. . . Where colourbecomes a primal inten- 
tion with a painter otherwise mean and 
sensual, it instantly elevates him, and be- 
comes the one sacred and saving element in 
his work. Stones of Venice 



CAMEOS FROM RUSKIN 67 

God has employed colour in his creation as 
the unvarying accompaniment of all that is 
purest, most innocent, and most precious. 

Modern Painters 



. . . The business of a painter is to paint. 
If he can colour, he is a painter, though he 
can do nothing else ; if he cannot colour, he 
is no painter, though he may do everything 
else. Modern Painters 

. . . To colour well requires real talent and 
earnest study, and to colour perfectly is the 
rarest and most precious power an artist can 
possess. Modern Painters 

The physical splendour of light and 
colour, so far from being the perception of 
a mechanical force by a mechanical instru- 
ment, is an entirely spiritual consciousness, 
accurately and absolutely proportional to the 
purity of the moral nature, and the force of 
its natural and wise affections. 

The Eagle's Nest 



A great colourist will make even the 



68 CAMEOS FROM RUSKIN 

absence of colour lovely, as the fading of the 
perfect voice makes silence sacred. 

Lectures on Art 



If colour does not give you intense pleasure, 
let it alone ; depend upon it, you are only 
tormenting the eyes and sense of people who 
can feel colour, whenever you touch it ; and 
that is unkind and improper. 

Elements of Drawing 



. . . Imagine what the world . . . would 
become if the blue were taken from the sky, 
and the gold from the sunshine, and the 
verdure from the leaves, and the crimson 
from the blood which is the life of man, the 
flush from the cheek, the darkness from the 
eye, the radiance from the hair . . . see for 
an instant white human creatures living in a 
white world. Stones of Venice 



THE INFLUENCE OF THE 
SPIRITUAL 

. . Whatever typical beauty the human 
body is capable of possessing must be 
bestowed upon it when it is understood as 
spiritual. • Modern Painters 

Every healthy state of nations and of indi- 
vidual minds, consists in the unselfish pres- 
ence of the human spirit everywhere, ener- 
gizing over all things ; speaking and living 
through all things. Modern Painters 



That habit of old and great painters of 
introducing portraits into all their highest 
works, I look to, not as error in them, but as 
the very source and root of their superiority 
in all things, for they were too great and too 
humble not to see in every face about them 
that which was above them, and which no 
fancies of theirs could match nor take the 
place of. Modern Painters 



TASTE 

Perfect taste is the faculty of receiving the 
greatest possible pleasure from those mate- 
rial sources which are attractive to our moral 
nature in its purity and perfection. 

Modern Painters 

Our purity of taste ... is best tested by 
its universality ... if we can perceive 
beauty in everything of God's doing, we may 
argue that we have reached the true percep- 
tion of universal laws. Modern Painters 



. . . True taste is forever growing, learn- 
ing, reading, worshipping, laying its hands 
upon its mouth because it is astonished, 
casting its shoes from off its feet because it 
finds the ground holy, lamenting over itself 
and testing itself by the way it fits things. 

Modern Painters 



CAMEOS FROM RUSKIN 71 

. . . The eye by constantly resting either 
on natural scenery of noble tone and char- 
acter, or on architectural remains of classical 
beauty, must contract a habit of feeling cor- 
rectly and tastefully. 

Poetry of Architecture 



Taste is not only a part and an index of 
morality, it is the only morality. The first, 
and last, and closest trial question to any 
living creature is, "What do you like?" 
Tell me what you like, and I'll tell you what 
you are. Crown of Wild Olives 



Taste for any pictures or statues is not a 

moral quality, but taste for good ones is . . . 

all delight in art, and all love of it, resolve 

themselves into simple love of that which 

deserves love. That deserving is the quality 

we call "loveliness." 

Crown of Wild Olives 



... I have never known anyone with false 
taste in books, and true taste in pictures. 

Elements of Drawing 



*]2 CAMEOS FROM RUSKIN 

What we like determines what we are, and 
is a sign of what we are \_ and to teach taste 
is inevitably to form character. 

Crown of Wild Olives 



ART APPRECIATION 

Never force yourself to admire anything 
when you are not in the humour ; but never 
force yourself away from what you feel to be 
lovely in search of anything better. 

Elements of Drawing 



... To enable you to understand art 
. . . there is one science which you must be 
acquainted with. You must very intensely 
and thoroughly know — how to behave. 

The Eagle's Nest 



All literature, art, and science are vain, 
and worse, if they do not enable you to be 
glad ; and glad justly. The Eagle's Nest 

The best patronage of art is not that which 
seeks for the pleasure of sentiment in a vague 
ideality, nor beauty of form in a marble im- 



74 CAMEOS FROM RUSKIN 

age; but that which educates your children 
into living heroes, and binds down the flights 
and fondnesses of the heart into practical 
duty and faithful devotion. 

Lectures on Architecture 



CHARACTERISTICS 

It is just as true for us, as for the crystal, 
that the nobleness of life depends on its con- 
sistency, — clearness of purpose, — quiet and 
ceaseless energy. Ethics of the Dust 



. . . Patience lies at the root of all pleas- 
ures, as well as of all powers. 

Ethics of the Dust 



. . . The two great delights, in loving and 
praising, and the two great thirsts, to be 
loved and praised, are the roots of all that is 
strong in the deeds of men, and happy in 
their repose. The Eagle's Nest 



The noblest word in the catalogue of so- 
cial virtues is loyalty. 



Seven Lamps of Architecture 



j6 CAMEOS FROM RUSKIN 

. . . Even those things which seemed me- 
chanical, indifferent, or contemptible, depend 
for their perfection upon the acknowledg- 
ment of the sacred principles of faith, truth, 
and obedience. 

Seven Lamps of Architecture 



. . . All that you have to do is to add to 
the enthusiastic sentiment, the majestic judg- 
ment — to mingle prudence and foresight with 
imagination and admiration, and you have 
the perfect human soul. 

Lectures on Architecture 

. . . The finer the nature, the more flaws 
it will show through the clearness of it. 

Stones of Venice 



The enormous influence of novelty — the 
way in which it quickens observation, sharp- 
ens sensation, and exalts sentiment — is not 
half enough taken note of by us, and is . . . 

a very sorrowful matter. 

Modern Painters 



Perfectness, properly so-called, means 



CAMEOS FROM RUSKIN J? 

harmony. The word signifies, literally, the 
doing our work thoroughly. 

Modern Painters 



... It is not possible that selfishness 
should reason rightly in any respect, but 
must be blind in its estimation of the wor- 
thiness of all things. Modern Painters 



THE GREAT PRINCIPLE OF 
PRO THERHOOD 

. . . There is one magnificent attribute of 
the colouring of the late twelfth, the whole 
thirteenth, and the early fourteenth century 
. . . the union of one colour with another by 
reciprocal interference ... if a mass of red 
is to be set beside a mass of blue, a piece of 
the red will be carried into the blue, and a 
piece of the blue into the red ... a mag- 
nificent principle, for it is an eternal and 
universal one, not in art only, but in human 
life. It is the great principle of Brotherhood, 
not by equality, nor by likeness, but by giv- 
ing and receiving . . . something from and 
of . . . others' gifts and . . . others' glory. 

Stones of Venice 



The training which makes men happiest 
in themselves also makes them most service- 
able to others. Stones of Venice 



CAMEOS FROM RUSKIN 79 

... In true composition, everything not 

only helps everything else a little, but helps 

with its utmost power. 

Modern Painters 



. . . Intensity of life is also intensity of 
helpfulness. Modern Painters 



. . . The greatest is he who is oftenest 
aided. ... He is commonly the wisest and 
is always the happiest, who receives simply 
and without envious question, whatever good 
is offered him with thanks to the immediate 
giver. Modern Painters 

... All the parts of a noble work must be 
separately imperfect . . . and the glory of 
every one of them must consist in its rela- 
tion to the rest, neither while so much as 
one is wanting can any be right. 

Modern Painters 



Love and trust are the only mother milk 
of any man's soul . . . power is receivable 
by him in the love and faith you give him. 

Modern Painters 



80 CAMEOS FROM RUSKIN 

. . . No man ever worked honestly with- 
out giving some help to his race. 

Modern Painters 



The moment we can use our possessions 
to any good purpose ourselves, the instinct 
of communicating that use to others rises 
side by side with our power. 

Ethics of the Dust 



. . . The will of God respecting us is that 
we shall live by each other's happiness and 
life, not by each other's misery . . .- men help 
each other by their joy, not by their sorrow. 

Ethics of the Dust 



. . . The constant duty of every man to 

his fellows is to ascertain his own powers 

and special gifts ; and to strengthen them 
for the help of others. 



Ethics of the Dust 



. . . Nothing is done beautifully, which is 
done in rivalship ; nor nobly, which is done 
in pride. Ethics of the Dust 



CAMEOS FROM RUSKIN " 8 1 

. . . The beauty which is indeed to be a 
joy forever, must be a joy for all. 

Aratra Pentelici 



. . . The true strength of every human 
soul is to be dependent on as many nobler 
as it can discern, and to be depended upon, 
by as many inferior as it can reach. 

The Eagle's Nest 



. . . Such help as we can give each other 
in this world is a debt to each other; and 
the man who perceives a superiority or a 
capacity in a subordinate, and neither con- 
fesses nor assists it, is not merely the with- 
holder of kindness but the committer of 
injury. Two Paths 



. . . The capacities of both gatherer and 
receiver being limited, the object is to make 
everything that you offer helpful and pre- 
cious. Two Paths 



Degrees of infinite lustre there must 
6 



82 CAMEOS FROM RUSKIN 

always be, but the weakest among us has 
a gift, however seemingly trivial, which is 
peculiar to him, and which worthily used 
will be a gift also to his race forever. 

Modern Painters 



MAXIMS 

You must either make a tool of the crea- 
ture, or a man of him. You cannot do both. 

Stones of Venice 



Nothing is a great work of art for the pro- 
duction of which either rules or models can 
be given. Stones of Venice 



. . . You may sum the duty of your life 
in the giving of praise worthily, and being 
yourselves worthy of it. The Eagle's Nest 



It is far better to give work which is above 
the men, than to educate the men to be 
above their work. 

Seven Lamps of Architecture 



Every human action gains in honor, in 
grace, in all true magnificence, by its regard 



84 CAMEOS FROM RUSKIN 

to things that are to come. . . . Therefore 

when we build, let us think that we build 
forever. Seven Lamps of Architecture 



. . . Work is only done well when it is 
done with a will ; and no man has a thor- 
oughly sound will unless he knows he is 
doing what he should, and is in his place. 
Crown of Wild Olives 



... It is the law of Heaven that you 
shall not be able to judge what is wise or 
easy, unless you are first resolved to judge 
what is just, and to do it. 

Crown of Wild Olives 



. . . Good and beautiful work is generally 
done slowly ; you will find no boldness in 
the way a flower or a bird's wing is painted ; 
if nature is not bold at her work, do you 
think you ought to be at yours? 

Elements of Drawing 



None but fools think they can restore, 
none but worse fools that they can improve. 

Val d'Arno 



CAMEOS FROM RUSKIN 85 

Every soul of us has to do its fight with 
the untoward and for itself discover the un- 
seen. Praeterita 



Work faithfully, and you will put your- 
selves in possession of a glorious and enlarg- 
ing happiness. Crown of Wild Olives 



... It is only by labor that thought can 
be made healthy, and only by thought that 
labor can be made happy, and the two can- 
not be separated with impunity. 

Stones of Venice 



An artist who is not making progress, is 
nearly sure to be retrograding. 

Modern Painters 



. . . The best thoughts are generally those 
which come without being forced, one does 
not know how. Ethics of the Dust 



Except when we feel deeply we can never 
comprehend fully. Modern Painters 



86 CAMEOS FROM RUSKIN 

Secret and poetical enthusiasm in all your 
hearts ... is indeed one of the liveliest 
parts of your being. 

Lectures on Architecture 



None of the best head-work in art, litera- 
ture, or science, is ever paid for ... it is 
indeed very clear that God means all thor- 
oughly good work to be done for nothing. 
Crown of Wild Olives 



INFLUENCE OF MOUNTAINS 

Mountains have had serious influence on 
the human intellect . . . their occult influ- 
ence has been both constant and essential to 

the progress of the race. 

Modern Painters 



Mountains have always possessed the 
power, first, of exciting religious enthusiasm, 
secondly, of purifying religious faith. 

Modern Painters 



The mountains of the earth are its nat- 
ural cathedrals, or natural altars, overlaid 
with gold and bright with bordered work of 
flowers — and with their clouds resting on 
them as the smoke of a constant sacrifice. 

Modern Painters 



A certain degree of reverence for fair 
scenery is found in all our great writers with- 
out exception. ... It is only the dull, the 
uneducated or the worldly whom it is pain- 
ful to meet on the hillsides. 

Modern Painters 



COMPARISONS 

Loveliness of colour, perfection of form, 
wonderfulness of structure are precious to 
all individual minds ; and the superiority of 
the mountains in all these things to the low- 
lands is ... as measurable as the richness 
of a painted window matched with a white 
one, or the wealth of a museum compared 
with that of a richly furnished chamber. 

Modern Painters 



. . . There is the same infinity, the same 
majesty, the same power, the same unity, 
and the same perfection, manifest in the 
casting of the clay as in the scattering of the 
cloud, in the mouldering of the dust as in 
the kindling of the day-star. 

Modern Painters 



Science and art are commonly distin- 
guished by the nature of their actions; the 
one as knowing, the other as changing, pro- 



CAMEOS FROM RUSKIN 89 

during, or creating. But there is a still 
more important distinction in the nature of 
the things they deal with. Science exclu- 
sively with things as they are in themselves; 
and art exclusively with things as they affect 
the human sense and human soul. 

Stones of Venice 



LIBRARY OF CONGRESS 



014 527 243 9 ft! 



111111 



